id: 122351 accession number: 1942.647 share license status: CC0 url: https://clevelandart.org/art/1942.647 updated: 2023-08-29 11:33:54.443000 The Burning of the Houses of Lords and Commons, 16 October 1834, 1835. Joseph Mallord William Turner (British, 1775–1851). Oil on canvas; framed: 123.5 x 153.5 x 12 cm (48 5/8 x 60 7/16 x 4 3/4 in.); unframed: 92 x 123.2 cm (36 1/4 x 48 1/2 in.). The Cleveland Museum of Art, Bequest of John L. Severance 1942.647 title: The Burning of the Houses of Lords and Commons, 16 October 1834 title in original language: series: series in original language: creation date: 1835 creation date earliest: 1835 creation date latest: 1835 current location: 203B British Painting and Decorative Arts creditline: Bequest of John L. Severance copyright: --- culture: England, 19th century technique: oil on canvas department: Modern European Painting and Sculpture collection: Mod Euro - Painting 1800-1960 type: Painting find spot: catalogue raisonne: --- CREATORS * Joseph Mallord William Turner (British, 1775–1851) - artist Joseph Mallord William Turner, the supreme landscape painter of the romantic era, had the exceptional good fortune to be the son of a Covent Garden barber and wigmaker who thoroughly supported his aspirations to paint pictures. As an adolescent, Turner colored engravings for the print sellers and apprenticed with architectural draftsman Thomas Malton (1726-1801). Although he entered the Royal Academy Schools in 1789, Turner's substantive artistic training came from his numerous self-conducted topographical drawing tours of the British Isles in the early 1790s and from his camaraderie with Thomas Girtin (1775-1802), with whom he copied the masterworks of landscape watercolorist John Robert Cozens (1752-1799) in the collection of Dr. Thomas Monro (1759-1833). Turner submitted his first oil painting, a seascape, for exhibition at the Royal Academy in 1796 and was elected an associate member three years later, at the earliest permissible age. Devoted to the academy's lofty mission, as it had been articulated by the recently deceased Sir Joshua Reynolds (1723-1792) in his annual lectures to the students of the academy, Turner would relish his election as a full academician in 1802 and would serve as professor of perspective from 1807 until 1837. His masterpieces of the early decades (and there seems an endless succession of works with title to that distinction) were either homages to past masters of landscape painting or entirely personal interpretations of the most extraordinary range of naturalistic effects and subjects. Whether it was The Fifth Plague of Egypt (1800, Indianapolis Museum of Art) and its amalgam of allusions to Nicolas Poussin (1594-1665) and Richard Wilson (1714-1782), The Dort Packet-Boat from Rotterdam Becalmed (1818, Yale Center for British Art, New Haven), with its overt tribute to Aelbert Cuyp (1620-1691), or The Fall of an Avalanche in the Grisons (1810, Tate Gallery, London), with its unprecedented invention of horrific naturalistic detail that challenged conventional notions of the sublime in art, the net effect of Turner's achievement was to elevate landscape painting to a status within the traditional hierarchy of genres that it had rarely enjoyed since the seventeenth century. Unlike Constable (q.v.), Turner was an indefatigable traveler abroad. His first visit to Switzerland in 1802 resulted in a spectacular series of exhibition watercolors that boldly established watercolor painting as a vital medium of original expression. A tour of Belgium, the Netherlands, and the Rhine in 1817 was followed by his first protracted stay in Italy in 1819. After 1820 summer excursions to France, Germany, Switzerland, Italy, and especially Venice were almost annual occurrences. Gradually, and primarily after the 1819 Italian sojourn, Turner's palette lightened. Traditional notions of chiaroscuro, of alternating bands of light and dark earth colors, yielded to compositions orchestrated in brighter hues, in which the various colors move across the painted surface almost at will, little respecting the forms they describe but in perfect balance. During the 1820s and early 1830s Turner committed vast amounts of his creative capital to the production of literary and travel illustrations. These kept an entire generation of engravers employed for several decades. Despite the tendency of his era to stigmatize reproductive engraving as an inferior instrument of artistic presentation, Turner was preoccupied with its processes and potential, acutely aware that, long after his pigments had faded, his reputation would be secure in the more durable brilliance of the engraver's deftly crafted reproductions. A second trip to Italy in 1828 may partially account for the heightened coloring of Ulysses Deriding Polyphemus (1828, National Gallery, London), which John Ruskin described as a pivotal picture in Turner's career. But there was very little falling off in either technical or thematic invention during the last decades of Turner's life. In major oils like Snow Storm-Steam Boat Off a Harbor's Mouth (1842, Tate Gallery, London) and Rain, Steam and Speed (1844, National Gallery, London) and no less measure in the series of elaborately finished Swiss watercolors executed on commission at the end of his life, natural forms occupy an uncertain place between concrete reality and total dissolution by light into the colors and images of what Monet (q.v.) admiringly called the "exuberant romanticism of Turner's fancy." Perspective can be intentionally distorted and the color schemes can approach the brazenly artificial, yet somehow the fundamental truth of Turner's vision, his faith in the supreme forces of nature and in the artist's preeminence as the mediator of that experience, continues to persuade. --- measurements: Framed: 123.5 x 153.5 x 12 cm (48 5/8 x 60 7/16 x 4 3/4 in.); Unframed: 92 x 123.2 cm (36 1/4 x 48 1/2 in.) state of the work: edition of the work: support materials: inscriptions: --- CURRENT EXHIBITIONS title: Exhibition of the John L. Severance Collection opening date: 1942-11-12T04:00:00 Exhibition of the John L. Severance Collection. The Cleveland Museum of Art, Cleveland, OH (November 12, 1942-March 14, 1943). title: Art: The International Language opening date: 1956-10-02T04:00:00 Art: The International Language. The Cleveland Museum of Art (October 2-November 4, 1956). title: Turner: Imagination and Reality opening date: 1966-03-23T05:00:00 Turner: Imagination and Reality. The Museum of Modern Art, New York, NY (organizer) (March 23-June 19, 1966). title: Turner Watercolors from The British Museum opening date: 1977-09-27T04:00:00 Turner Watercolors from The British Museum. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 27-November 27, 1977). title: Visions of Landscape: East and West opening date: 1982-02-17T05:00:00 Visions of Landscape: East and West. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982). title: Object Lessons: Cleveland Creates an Art Museum opening date: 1991-06-07T04:00:00 Object Lessons: Cleveland Creates an Art Museum. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991). title: Turner opening date: 1996-03-16T05:00:00 Turner. National Gallery of Australia (organizer) (March 16-June 10, 1996). title: J. M. Turner opening date: 2001-09-14T00:00:00 J. M. Turner. Museum Folkwang, 45128 Essen, Germany (organizer) (September 14, 2001-January 6, 2002). title: Masterpieces of European Painting from The Cleveland Museum of Art opening date: 2006-11-08T00:00:00 Masterpieces of European Painting from The Cleveland Museum of Art. Frick Collection, New York, NY (organizer) (November 8, 2006-January 28, 2007). title: Masterpieces of European Painting from the Cleveland Museum of Art opening date: 2007-03-29T00:00:00 Masterpieces of European Painting from the Cleveland Museum of Art. Maltz Museum of Jewish Heritage, Beachwood, OH (March 29-July 8, 2007). title: J.M.W. Turner opening date: 2007-10-01T00:00:00 J.M.W. Turner. National Gallery of Art, Landover, MD (organizer) (October 1, 2007-January 6, 2008); The Dallas Museum of Art, Dallas, TX (February 10-May 25, 2008). title: British Gallery Reinstallation (June 2020) opening date: 2020-06-30T04:00:00 British Gallery Reinstallation (June 2020). The Cleveland Museum of Art (organizer). title: Turner's Modern World opening date: 2021-10-17T04:00:00 Turner's Modern World. Kimbell Art Museum, Fort Worth, TX (organizer) (October 17, 2021-February 6, 2022) https://kimbellart.org/exhibition/turners-modern-world; Museum of Fine Arts, Boston, Boston, MA (March 27-July 10, 2022) https://www.mfa.org/exhibition/turners-modern-world. --- LEGACY EXHIBITIONS * The Burning of the Houses of Lords and Commons. Royal Academy, London, United Kingdom (1835). * Works of British Artists. British Institution, London, United Kingdom (1836). * National Exhibition of Works of Art. Leeds, United Kingdom, lent by J. G. Marshall, Esg. (1868) * Exhibition of works by the old master and deceased masters of the British school. Royal Academy, London, United Kingdom, lent by Victor Marshall, Esg. (1883), * Twentieth Anniversary Exhibition of the Cleveland Museum of Art. Cleveland Museum of Art, Cleveland, OH, lent by the Estate of John L. Severance (June 26-October 4, 1936). --- PROVENANCE Bought from the artist by John Garth Marshall [1765-1845], Headingly House, Leeds, United Kingdom, and by descent. date: footnotes: citations: (Christie's, London, United Kingdom, April 28, 1888, under the name of Ponsford. date: 1888 footnotes: citations: Descended in the Marshall family through Victor Marshall of Mark Coniston to James Marshall. date: footnotes: citations: (Leicester Gallery, London, United Kingdom, 1920, sale; but returned to owner) date: 1920 footnotes: citations: (Knoedler, London, United Kingdom, 1922, sold to John L. Severance) date: 1922 footnotes: citations: John L. Severance [1863-1936], Cleveland, OH, by bequest in 1936 to the Cleveland Museum of Art date: 1922-1936 footnotes: citations: The Cleveland Museum of Art, Cleveland, OH date: 1942- footnotes: citations: --- fun fact: Turner painted two versions of this event. Cleveland's painting views the fire downriver, from the southeast bank of the Thames, while the second version at the Philadelphia Museum of Art views the fire from directly across Westminster Bridge. digital description: wall description: Fire consumed London’s famous Houses of Parliament on the night of October 16, 1834, and people gathered along the banks of the river Thames to gaze in awe at the horrifying spectacle. Initially, a low tide made it difficult to pump water to land and hampered steamers towing firefighting equipment along the river. The blaze burned uncontrollably for hours.

J. M. W. Turner records the struggle as the boats in the lower-right corner head toward the flames. Although Turner based the painting on an actual event, he magnified the height of the flames, using the disaster as the starting point to express man’s helplessness when confronted with the destructive powers of nature. Brilliant swathes of color and variable atmospheric effects border on abstraction. --- RELATED WORKS id: None None relationship: --- CITATIONS Morse, John D. Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists. New York, NY: Abbeville Press, 1979. page number: Reproduced: p. 280 url: Waagen, Gustav Friedrich. Works of Art and Artists in England. London, United Kingdom: J. Murray, 1838. page number: Reproduced: p. 152, vol. II url: Royal Academy of Arts. Exhibition of the Works of the Old Masters. London, United Kingdom: Printed by Wm. Clowes and Sons, 1870. page number: Reproduced: no. 215 url: Thornbury, Walter. Life of J.M.W. Turner, R.A., Founded on Letters and Papers Furnished by His Friends and Fellow-Academicians. New York, NY: Holt, 1877. page number: Mentioned: p. 327, vol. I, p. 217, vol. II url: Monkhouse, W. Cosmo. The Turner Gallery; A Series of One Hundred and Twenty Engravings from the Works of the Late J.M.W. Turner, R.A. New York, NY: D. Appleton and Company, 1879. page number: Reproduced: p. 118 url: Armstrong, Walter.Turner. London, United Kingdom: Agnew, 1902. page number: Mentioned: p. 117,120,146-147,236 url: Chignell, Robert. J.M.W. Turner, R.A. London, United Kingdom: Walter Scott Pub. Co, 1902. page number: Reproduced: p. 197 url: Ruskin, John, Edward Tyas Cook, and Alexander D. O. Wedderburn. The Works of John Ruskin. London, United Kingdom: George Allen, 1903. page number: Mentioned: p. 423-424, vol. 3; Reproduced: p. 389, vol. 12 url: Graves, Algernon. The Royal Academy of Arts; A Complete Dictionary of Contributors and Their Work from Its Foundation in 1769 to 1904. London, United Kingdom: H. Graves and Co, 1905. page number: Reproduced: p. 39 url: Graves, Algernon. Century of Loan Exhibitions 1813-1912. London, United Kingdom: Graves, 1913. page number: Mentioned: p. 1334. vol. 3, Reproduced: p. 1336 url: Hind, C. Lewis. Turner's Golden Visions. London, United Kingdom: T.C. & E.C. Jack, 1925. page number: Reproduced: p. 183 url: Whitley, William T. Art in England, 1821-1837. Cambridge, United Kingdom: University Press, 1930. page number: Reproduced: p. 298 url: Cleveland Museum of Art. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition : June Twenty-Sixth to October Fourth 1936. Cleveland, OH: Cleveland Museum of Art, 1936. page number: no. 249 url: John Long Severance Art Collection Photographs: Furniture, Cleveland Museum of Art Archives. page number: Reproduced: p. 301 url: https://archive.org/details/SeveranceFurniture/page/n299/mode/1up Finberg, A. J. The Life of J.M.W. Turner, R.A. Oxford, United Kingdom: Clarendon Press, 1939. page number: Reproduced: p. 500, no. 463, pl. 18 url: Catalogue of the John L. Severance Collection: Bequest of John L. Severance, 1936. [Cleveland, Ohio]: Cleveland Museum of Art, 1942. page number: Reproduced: p. [23], Plate IX, cat. no. 16; Mention: p. 25, cat. no. 16 url: https://archive.org/details/SeveranceBequest/page/n29 Paintings in the Cleveland Museum of Art. [Cleveland]: The Cleveland Museum of Art, 1945. page number: Reproduced: p. 20 url: https://archive.org/details/CMAPaintings1945/page/n28 Constable, W. G., and Henry Preston Rossiter. An Exhibition of Paintings, Drawings and Prints by J.M.W. Turner, John Constable [and] R.P. Bonington. March 21 to April 28, 1946. Bsoton, MA: Museum of Fine Arts, 1946. page number: Reproduced: no. 11 url: An Exhibition of Paintings by J.M.W. Turner (1775-1851) to Commemorate the Centennial of His Death. Toronto, Ontario: Art Gallery of Toronto, National Gallery of Canada, 1951. page number: Reproduced: no. 9 url: Berenson, Bernard. Seeing and Knowing. New York, NY: Macmillan, 1953. page number: Mentioned: p. 33; Reproduced: p. 48, no. 86 url: Turner in America: Oils, Water Colors, Drawings, and Some Engraved Works of Joseph Mallord William Turner, English, 1775-1851. Indianapolis, IN: Art Association of Indianapolis, 1955. page number: Reproduced: no. 38 url: The Cleveland Museum of Art. The Cleveland Museum of Art Handbook. Cleveland, OH: The Cleveland Museum of Art, 1958. page number: Mentioned and Reproduced: cat. no. 476 url: https://archive.org/details/CMAHandbook1958/page/n87 Arts Council of Great Britain. The Romantic Movement: Fifth Exhibition to Celebrate the Tenth Anniversary of the Council of Europe, 10 July to 27 September 1959 [at] the Tate Gallery and the Arts Council Gallery, London. London, United Kingdom: Arts Council of Great Britain, 1959. page number: Reproduced: no. 353, pl. 48 url: Rothenstein, John, and Martin Butlin. Turner. New York, NY: G. Braziller, 1964. page number: Mentioned: p. 48-50, 54; Reproduced: p, 64, opl. xvii url: Birren, Faber. History of Color in Painting, With New Principles of Color Expression. New York, NY: Reinhold Pub. Corp, 1965. page number: Reproduced: p. 261, pl. xi; Mentioned: p. 185, 260 url: The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1966. Cleveland, OH: The Cleveland Museum of Art, 1966. page number: Reproduced: p. 183 url: https://archive.org/details/CMAHandbook1966/page/n207 Lindsay, Jack. J.M.W. Turner: His Life and Work; A Critical Biography. Greenwich, CT: New York Graphic Society, 1966. page number: Mentioned and reproduced: p. 178-182, 187, 204 url: Gowing, Lawrence. Turner: Imagination and Reality. New York, NY. Museum of Modern Art,1966. page number: Mentioned: p. 45,59; Reproduced: no, 10 url: Arnason, H. H. History of Modern Art: Painting, Sculpture, Architecture. New York, NY: H.N. Abrams, 1968. page number: Reproduced: p. 16, pl. 2 url: Gatt, Giuseppe. Turner: The Life and Work of the Artist Illustrated with 80 Colour Plates. London, United Kingdom: Thames & Hudson, 1968. page number: Mentioned: p. 33; Reproduced: pl. 49-50 url: The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969. page number: Reproduced: p. 183 url: https://archive.org/details/CMAHandbook1969/page/n207 Graves, Algernon. The British Institution, 1806-1867; A Complete Dictionary of Contributors and Their Work from the Foundation of the Institution. Bath, United Kingdom: Kingsmead Reprints, 1969. page number: Reproduced: p. 545 url: Gage, John. Color in Turner; Poetry and Truth. New York. NY: Praeger, 1969. page number: Mentioned: p. 117, 252; Reproduced on dust jacket url: Reynolds, Graham. Turner. London, United Kingdom: Thames & Hudson, 1969. page number: Mentioned: p. 81, 165; Reproduced: p. 214, pl. 142 url: Hirsh, Diana. The World of Turner, 1775-1851. New York, NY: Time-Life Books, 1969. page number: Mentioned and reproduced: p. 154-155 url: Blunden, Maria, Godfrey Blunden, and James Emmons. Impressionists and Impressionism. Geneva, Switzerland : Skira; New York, NY : Distributed in the United States by World Pub. Co., 1970. page number: Reproduced: p. 98 url: Munro, Thomas. Form and Style in the Arts: An Introduction to Aesthetic Morphology. Cleveland, OH: Press of Case Western Reserve University, 1970. page number: Reproduced: pl. II url: Turner, J. M. W. Tānā = Turner. Tokyo, Japan: Bijutsu shuppan-sha, 1970. page number: Reproduced: p. 5 url: L'impressionnisme. Paris, France: Réalités, 1971. page number: Reproduced: p. 38 url: Valsecchi, Marco. Landscape Painting of the 19th Century. Greenwich, CT: New York Graphic Society, 1971. page number: Reproduced: p. 371, pl. 9 url: Clark, Kenneth. The Romantic Rebellion: Romantic Versus Classic Art. London, United Kingdom: Sotheby Parke Bernet Publications Ltd., 1973. page number: Reproduced: p. 256 url: Philadelphia Museum of Art, and George H. Marcus. Treasures of the Philadelphia Museum of Art and the John G. Johnson Collection. Philadelphia, PA: The Museum, 1973. page number: Reproduced: p. 73 url: Centraal Museum (Utrecht, Netherlands). Landschap in Utrecht: Centraal Museum Utrecht, 18 september-3 november 1974. [Utrecht]: [Centraal Museum], 1974. page number: Reproduced: p. 18 url: Tate Gallery. Turner, 1775-1851. London, United Kingdom: Tate Gallery Publications, 1974. page number: Reproduced: p. 142 url: Herrmann, Luke. Turner: Paintings, Watercolors, Prints & Drawings. Boston, MA: New York Graphic Society, 1975. page number: Reproduced: p. 42, pl. 133 url: Selz, Jean. Turner. New York, NY: Crown Publishers, 1975. page number: Reproduced: p. 59 url: Butlin, Martin, and Evelyn Joll. The Paintings of J.M.W. Turner. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art and the Tate Gallery by Yale University Press, 1977. page number: Reproduced: no. 364, vol. I and pl, 339, vol. 2 url: The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. page number: Reproduced: p. 208 url: https://archive.org/details/CMAHandbook1978/page/n228 Honour, Hugh. Romanticism. New York, NY: Harper & Row, 1979. page number: Mentioned: p. 97; Reproduced: p. 383, fig. 51 url: Thomas, David. J.M.W. Turner. London, United Kingdom: Medici Society, 1979. page number: Reproduced: p. 18 url: Wilton, Andrew. J.M.W. Turner: His Art and Life. New York, NY: Rizzoli, 1979. page number: Reproduced: p. 218, 364 url: Wilton, Andrew. Turner and the Sublime. London, United Kingdom: Published by British Museum Publications for the Art Gallery of Ontario, the Yale Center for British Art, the Trustees of the British Museum, 1980. page number: Reproduced: p. 97 url: Joll, Evelyn, Martin Butlin, and Gemma Verchi. L'opera completa di Turner. Milano, Italy: Rizzoli, 1982. page number: Reproduced: no. 377 url: Paulson, Ronald. Book and Painting: Shakespeare, Milton, and the Bible : Literary Texts and the Emergence of English Painting. Knoxville, TN: University of Tennessee Press, 1982. page number: Mentioned: p. 147; Reproduced: p. 149 p. url: Gealt, Adelheid M. Looking at Art: A Visitor's Guide to Museum Collections. New York, NY: R.R. Bowker, 1983. page number: Mentioned: p. 367-368; Reproduced: pl. 10 url: Butlin, Martin, and Evelyn Joll. The Paintings of J.M.W. Turner. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art and the Tate Gallery by Yale University Press, 1984. page number: Mentioned: p. 208, vol. 1; Reproduced: p, 210, no. 364 url: Solender, Katherine. Dreadful Fire!: Burning of the Houses of Parliament. Cleveland, OH: Cleveland Museum of Art, 1984. page number: Reproduced: no. 12 url: Heffernan, James A. W. The Re-Creation of Landscape: A Study of Wordsworth, Coleridge, Constable, and Turner. Hanover, CT: Published for Dartmouth College by University Press of New England, 1984. page number: Mentioned: p. 24; Reproduced: p. 223, fig. 43 url: Cleaver, Dale G. Art: An Introduction. San Diego, CA: Harcourt Brace Jovanovich, 1985. page number: Reproduced: p. 281, fig. 17-5 url: Lindsay, Jack. Turner: The Man and His Art. London, United Kingdom: Granada, 1985. page number: Mentioned: p. 123-125; Reproduced: pl. 15 url: Dorment, Richard. British Painting in the Philadelphia Museum of Art: From the Seventeenth Through the Nineteenth Century. Philadelphia, PA: Philadelphia Museum of Art, 1986. page number: Mentioned: p. 396,398, 401; Reproduced: fig. 111-1 url: Kroeber, Karl. British Romantic Art. Berkeley, CA: University of California Press, 1986. page number: Mentioned: p. 168, 169; Reproduced: fig. 10 url: Larson, Dean M. Studying with the Masters: Lessons from Rubens, Velázquez, Turner, Degas, Monet, Sargent, Matisse. New York, NY: Watson-Guptill Publications, 1986. page number: Reproduced: p. 48 url: Eitner, Lorenz. An Outline of 19th Century European Painting: From David Through Cézanne. New York, NY: Harper & Row, 1987. page number: Mentioned: p. 149, vol. 1; Reproduced: fig. 133 url: Gage, John. J.M.W. Turner: A Wonderful Range of Mind. New Haven, CT: Yale University Press, 1987. page number: Mentioned: p. 226; Reproduced: p. 233, no. 89, fig. 320 url: Kurtz, Bruce D. Visual Imagination: An Introduction to Art. 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New York, NY: Mallard Press, 1991. page number: Reproduced: p. 121, fig. 6 url: Meyer, Laure. Les maîtres du paysage anglais: de la Renaissance à nos jours. Paris, France: Terrail, 1992. page number: Mentioned: p. 110; Reproduced: p. 112-113 url: Lyles, Anne. Turner: the Fifth Decade: Watercolours 1830-1840. London, United Kingdom: Tate Gallery, 1992. page number: Mentioned and reproduced: p. 71-73 url: Nagata, Yoshio. Tānā = William Turner. Tōkyō, Japan: Asahi Shinbunsha, 1992. page number: Reproduced: pl. 50 url: Breuille, Jean-Philippe. L'Art du XIXe siècle: dictionnaire de peinture et de sculpture. Paris, France: Larousse, 1993. page number: Reproduced: p. 719 url: Daniels, Stephen. Fields of Vision: Landscape Imagery and National Identity in England and the United States. Cambridge, United Kingdom: Polity, 1993. page number: Mentioned: p. 130, 132, 134; Reproduced: p. 136, fig. 8 url: Robinson, Michelle, and J. M. W. Turner. J.M.W. Turner's The Burning of the Houses of Parliament, 16th October, 1834, an Allegory of Misrule. [Place of publication not identified]: [publisher not identified], 1994. page number: Reproduced: p. 48 url: Kenner, Robert. J.M.W. Turner. New York, NY: H.N. Abrams, 1995. page number: Reproduced: p. 76 url: Egerton, Judy. Turner, the Fighting Temeraire. London, United Kingdom: National Gallery Publications, 1995. page number: Reproduced: p. 79 url: Liversidge, M. J. H., and Catharine Edwards. Imagining Rome: British Artists and Rome in the Nineteenth Century. London, United Kingdom: Merrell Holberton, 1996. page number: Reproduced: p. 51 url: Rosenthal, Michael. "Turner in Australia." Apollo: The International Magazine for Collectors 144 (October 1996): 51. page number: Reproduced: p. 51 url: Lloyd, Michael. Turner. Canberra, Australia, ACT: National Gallery of Australia, 1996. page number: Mentioned: p. 87-99; Reproduced: p. 89, 231 url: Strasser, René. Die Stadt als Landschaft. 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London, United Kingdom: Phaidon Press, 1999. page number: Mentioned: p. 22-23; Reproduced: no. 18 url: D'Argencourt, Louise and Roger Diederen. The Cleveland Museum of Art Catalogue of Paintings: Part Four;European Paintings of the 19th Century. Cleveland, OH: The Cleveland Museum of Art, 1999. page number: Reproduced: p. 213 url: Butlin, Martin, Luke Herrmann, and Evelyn Joll. The Oxford Companion to J.M.W. Turner. Oxford, United Kingdom: Oxford University Press, 2001. page number: Reproduced: pl. 21 url: Wilton, Andrew and Georg-W. Költzsch. William Turner: Licht und Farbe : eine Ausstellung in Zusammenarbeit mit Tate. Köln, Germany: DuMont, 2001. page number: Reproduced: p. 248; Mentioned: p. 362 url: May, Sally Ruth, Jane Takac, and Barbara J. Bradley. Knockouts: A Pocket Guide. Cleveland, OH: Cleveland Museum of Art, 2001. page number: Mentioned: p. 47-48; Reproduced: p. 47 url: Meslay, Olivier. l'incendie de la peinture. Paris, France: Gallimard, 2004. page number: Mentioned and reproduced: p. 98-99 url: Adams, Laurie. A History of Western Art. Boston, MA: McGraw-Hill, 2004. page number: Reproduced: p. 407, fig. 22.14 url: Owen, Susan Margaret. Rivers and the British Landscape. Lancaste, United Kingdomr: Carnegie, 2005. page number: Reproduced: p. 163 url: Meslay, Olivier. Turner: Life and Landscape. New York, NY: Harry N. Abrams, 2005. page number: Mentioned and reproduced: p. 98-99 url: Iacono, Margaret. Masterpieces of European Painting from the Cleveland Museum of Art. New York, NY: The Frick Collection, 2006 page number: Mentioned: p. 70-73; Reproduced: no. 14 url: Gage, John. Colour in Art. London, United Kingdom: Thames & Hudson, 2006. page number: Reproduced: p. 74, fig. 64 url: Channing, Laurence, "Personal and Professional", Cleveland Museum of Art. Cleveland Art: The Cleveland Museum of Art Members Magazine. 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London : Viking, 2016. page number: Mentioned: p. 381; Reproduced: endpapers url: Lapucci, Roberta & Borgioli, Leonardo. "Un inedito duplice bozetto di Joseph Mallallord William Turner." Kermes: la rivista del restauro 29, no.101/102 (Jan./June 2016). page number: Reproduced: p. 110; fig. 3 url: Cheshire, Lee. London in Paint. London, United Kingdom : Tate Publishing, 2017. page number: Mentioned & reproduced: P. 40 url: Sotheby's. "Critical Reception." Old Masters, Evening Sale, July 5, 2017: 116-119. page number: Reproduced: p. 119, fig. 18 url: Hunter, Matthew C. "Curve, Line, Circle, Slash, Cross: A Diagram of Liquid Intelligence." Grey Room 69 (Fall 2017): 6-23. page number: Reproduced: p. 13 url: Ehrlich, Linda C. "Turning Away from the Fire: A New Look at Films of Kore-eda Hirokazu." Framework: The Journal of Cinema and Media 60, no. 1 (Spring 2019): 116-140.
page number: Reproduced: p. 118, fig. 2 url: “Reimaging the British Galleries: Our curators preview the new look of the space.” Cleveland Art: Cleveland Museum of Art Members Magazine vol. 59, no. 6 (November/December 2019): 5-7. page number: Reproduced and Mentioned: P. 5. url: Masello, David. "Backlit: looking into Turner's light." Fine Art Connoisseur 17, no. 1 (January/February 2020): 90-93. page number: Reproduced: p.92 url: Reynolds, Graham. Turner. [Place of publication not identified]: Thames & Hudson, 2020. page number: Reproduced: P. 157; Mentioned: P. 156, no. 142 url: Faroult, Guillaume, Sophie Barthélémy, Sandra Buratti-Hasan, and Jenny Gaschke. Absolutely bizarre !: les drôles d'histoire de l'école de Bristol (1800-1840). 2020, 114. page number: Mentioned and reproduced: pp. 113-114, fig. 46. url: Arcangeli, Francesco, and Filippo Milani. Dal romanticismo all'informale. 2020, 183. page number: Mentioned: p. 192; reproduced: p. 183, No. 160. url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/1942.647/1942.647_web.jpg print: https://openaccess-cdn.clevelandart.org/1942.647/1942.647_print.jpg full: https://openaccess-cdn.clevelandart.org/1942.647/1942.647_full.tif